One Hundred Thousand Kisses

prints, lipstick on cartridge paper (2000)

Based on her own translation of Catullus’s famous poem, Isabella sought to understand the physical impact of a hundred thousand kisses. Created in batches of a thousand, the making process became a durational performance, with chapped, bleeding and swollen lips as a side effect.

Honeylips

intervention, documented on polaroid (2005)

For six months in 2005, Isabella wore thickly-applied, almost-dripping honey on her mouth to every Private View or launch she attended. No-one mentioned it.

The Guillotine I Had So Long Awaited

cibachrome prints (2001)

“Around his neck he wore a red cinch, tied tightly enough to be uncomfortable, a ceinture du victime. I settled him in front of the device, arranged his head and neck to fit perfectly within the hole and, at the optimum moment, I brought down the guillotine.”

A series of prints exploring the histories of beheading and the erotics of commemoration.

I Tried To Speak – Foolishly – About Love

script, cibachrome print, text, objects, pheromones, lino print (edition of 3)(2001)

A series of works exploring the idea of a place designed for love.

I Will Always Love You

intervention (2004)

For the Penkiln Burn You Whores project, Isabella offered the above transaction, gaining a black star of approval. She had a number of replies to her advertisement, but no-one was willing to pay her price.

Private View

performance (2001)

After completing Thief and Tom and I, Isabella staged a performance in which she photographed everyone who looked into her window between 5-6pm for a month. People were invited to a Private View ostensibly of this documentation, where they were fed cocktails and filmed throughout. This performance of Private Viewing becoming the work.

Tell Your Heart That I’m The One

intervention (2006)

Further details will be added shortly.

Index

audio, installation (1999)

Further details will be added shortly.

Word

Further details will be added shortly.